SESSION 8 | Drawing and Creative Process (PT)

27th November | 17.15-18.45 UK time

Moderator: Daniel Tércio , INET-md, Faculdade Motricidade Humana, Universidade de Lisboa

(recording of session available upon request to the organising chair at drawingandperformance@gmail.com)

As proposições plásticas de Lygia Clark no corpo vibrátil de Ana Vitória

ANA VITÓRIA (PT), INET-md, Faculdade Motricidade Humana, Universidade de Lisboa

Images of a decade of creation by choreographer AnaVitória (1969-) in dialogue with the propositions of the plastic artist Lygia Clark (1920-1988), their marks, tracks, footprints and instaurations. The singular look of a poetic self that reverberates and spatializes in the body of another sensory. Cartography taking place at the same time as the dismantling of forms – senses – fades away – and the formation of other ways of making body / space reappears.

Will be presented in powerpoint graphics of the creative-pedagogical system created by choreographer AnaVitória (defended in doctoral dissertation) entitled Re [Affective Learning] with which the artist has been working and developing it for 27 years, applying in her performance works, creations for dance groups and groups, choreographers training courses, workshops and movement direction.

Lygia Clark, who made in her artistic journey a long shift from the painting on the wall to the manipulable work / object, came to give “absolute importance to the immanent act performed by the participant”, coming to the body and his imagination as the first and final form of expression. creative mind – always in process and always unfinished.

In this dialogue, AnaVitória sought the necessary unselfishness to untie the affective knots that bound her to the world of forms, the willful abstractions of the coded languages ​​of dance, their aesthetic anchors and cultural shackles. Re-drawing in its BODY new contours, concretizing their own spatialities, erecting new plasticities by materializing in space, hidden objects of their existence and highlighting their affections.

What is at stake here is not the world of representations, copying or redesigning the world of the other, but understanding what forces and intensities pass through a body in the face of its devouring, seeking to trigger other states of presence and its own weaving, while being “confronted with the invisible density of an intense flow of flow between bodies and things” returning us to a vibratory body, not subjected to, but potent and in keeping with the thought of art as a trigger for existence.

Desenhando com elementos encontrados: uma performance no Tindurf, Saara Ocidental.

VANESSA JESUS (SP), Universitat Politècnica de Valéncia

The challenges of creating performance based on specific realities and aesthetics. What it was like to create an action based on testimonials from Sahauri refugees, before getting to know the territories and their residents. Create considering the different aesthetic and cultural elements of my experiences. How to adapt a pre-idea to the few days of living in Tindurf refugee camp A search for elements that approach a local identity. Reports of the difficulties and beauties of creating express performance for unknown territories in order to promote empathy and international visibility to their struggles, desires, needs and history.

How to create a performance from outside inspired in a specific context?

How to think objects, movements and scenography from an aesthetic from outside?

What is it like to travel with drawing to apply to a real landscape?

What goes? What stays? And what next? This project aims to develop a creative experience based on local testimonials, think the scenery from the landscape and elements found and available. How to adapt the design to the local reality? Changes in materials, camera positioning and location chosen to recognize the residents of the camp and to record the action contemplating the chosen scenographic elements. A consensus between performer, art director and locals.

José Capela: Imagem, Espaço, Ilusão.

FILIPE FIGUEIREDO (PT), Centro de Estudos de Teatro, Faculdade de Letras, Universidade de Lisboa

COSIMO CHIARELLI (PT), Centro de Estudos de Teatro, Faculdade de Letras, Universidade de Lisboa

Within the scope of the research project PERPHOTO – Dramaturgias do Olho, which explores the multiple interactions between photography and performing arts in their theoretical, historical and cultural implications, as well as in the Portuguese and international theatrical practice of the last 40 years, it is intended, in this context , to approach the creation process of the set designer José Capela from the universe of images and, in particular, the photographic work of José Carlos Duarte with which he establishes a relationship of great complicity. It is intended, therefore, to question the potential of scenographic writing through the use of images in the construction of the scenic space as a viewing device. Capela’s scenographic work through these resources explores the possibilities of reading the scenography as an installation that, by deconstructing the scene’s simulacral game, opens the door to the questioning of some myths surrounding the theater show.